Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Advanced laboratory techniques for Microbial and Molecular Biology at the graduate level are presented in this thesis. The procedures for the laboratory experiments are set forth in detail. This laboratory is conducted as two parts, each by a different professor. Part 1 covers the experiments conducted by Dr G.A.O. Donovan. These experiments include an introduction, staining procedures, biochemical reactions, mutagenesis experiment, essays,. preparation and analysis of plasmid DNA and various other topics. Part 2 covers the experiments conducted by Dr. Daniel Kunz and includes various topics like media preparation, phenotyping strains, conjugative transfer of plasmids, SDS-PAGE, induction and measurement of enzyme and transposon mutagenesis

Master thesis, Master's degree program Marketing, Economic School Linnaeus University, Växjö Sweden, Spring semester 2015. Author: Andersson Anthon, Guntell Robin Tutor: Soniya Billore Examiner: Anders Pehrsson Title: Advancing the COO Construct From an Affective Dimension: The Application of Projective Technique Purpose: The purpose in this article is to break from traditional research and its accompanying cognitive research methods in order to advance the COO field from a more accurate perspective that also involves an affective dimension as well. Design/methodology/approach: Drawing from prior research in the COO field, the methodology accounted for assumptions that were tested in collage technique and ad copy technique. Findings: The results shows that some people only seems to be susceptible to COO influence when communicating emotional CSAs nonverbally, whilst some people only reveal rational CSAs when being cognitively asked about COO influence in a directed manner. As a result, the present findings might suggest that prior research in the academic field might suffer from bias. Practical implications: In the light of COO, managers should bear in mind that some people cannot be targeted with solely rely on a cognitive marketing communication strategy. More specifically, the ad copy technique provides guidelines for appropriate design of advertisements when one consider to serving the brand’s origin as salient cue in consumers’ minds. Originality/value: Advancing the COO construct with using collage technique, this study is to the best our knowledge the second to account for an affective dimension as well.

Cette thèse vise à rendre compte de la création et du développement de l'enseignement technique scolaire intermédiaire en France entre les années 1880 et 1919, à travers l'examen de trois écoles techniques : l'Ecole Nationale Professionnelle de Voiron, l'Ecole Nationale d'Horlogerie de Cluses et l'Ecole Professionnelle Vaucanson de Grenoble. Une triple méthodologie guide le travail, associant histoire totale, études monographiques et sociologie du curriculum. L'histoire totale montre comment les contextes technique, économique, industriel, politique, géopolitique et éducatif entrent dans la construction de l'enseignement technique et dans les débats à son égard. Cet enseignement prend naissance dans une période de démocratisation de l'enseignement, sur fond de progrès technique et d'industrialisation de la France et reflète ces bouleversements. L'étude monographique et comparative des trois écoles analyse les étapes de la création de ces établissements. Elle met en lumière les tâtonnements, les modifications et les évolutions des écoles dans leur installation au sein du paysage scolaire local et national, la construction de l'offre de formation, la délimitation du recrutement, l'instauration d'une certification, la détermination de débouchés pour les élèves et l'élaboration de partenariats avec les entreprises et territoires locaux. L'analyse des curricula focalise sur la nature de l'enseignement dispensé et son évolution, afin de définir les modèles d'éducation proposés par ces établissements. Les nombreuses forces en jeu vont dessiner le contour des réflexions, principalement autour de la répartition entre enseignement général, scientifique et technique, et vont guider l'élaboration des curricula. L'examen porte alors sur la détermination des objectifs d'éducation des écoles et sur la construction des composantes de l'organisation pédagogique telles que la sélection, la différenciation en section, la discipline et l'évaluation des élèves. L'analyse des programmes d'enseignement par l'intermédiaire des volumes horaires des matières montre les choix différents des écoles, allant d'un enseignement professionnel pour ouvrier à un enseignement d'élite destiné à des techniciens voire des ingénieurs. A la suite de ces analyses, nous proposons la notion de fabrique pour caractériser la mise en place de l'enseignement technique à cette période. Elle souligne la multiplicité des facteurs entrant dans la construction d'institutions d'enseignement technique et les négociations qui en découlent, la dimension longue, expérimentale et non prédéfinie d'un tel processus. Elle souligne également la vocation de reproduction et de diffusion de ses produits, constitués par des institutions, une formation technique et des élèves formés. La caractérisation et la définition générique du concept de fabrique de l'enseignement technique proposées pourraient alors servir de modèle à l'étude d'établissements dans d'autres pays ou à d'autres époques. Nos analyses de trois écoles techniques au tournant du XXe siècle montrent que pendant un temps, ces écoles techniques intermédiaires ont dispensé un enseignement de haut niveau, appuyé sur les progrès des techniques et éclairé des avancées de la science, tout en portant une vraie ambition individuelle et collective pour leurs élèves. Ces établissements prototypiques, qui peuvent être qualifiés d'élites, ne seront cependant pas développés par la suite. Les possibilités qui s'étaient ouvertes pendant ces quelques années de bouleversements se referment avec la guerre. Le choix des décideurs politiques, en étendant l'offre de formation technique intermédiaire à tout le territoire, sera de privilégier des établissements moins ambitieux. / This thesis sets out to account for the construction and the development of technical training in France, at an intermediary level of schooling, between 1880 and 1919, through the study of three technical schools during this period: the Ecole Nationale Professionnelle of Voiron, the Ecole Nationale d'Horlogerie of Cluses and the Ecole Vaucanson of Grenoble. A methodology combining histoire totale, monographic analysis and sociology of curriculum guides this study. The methodology of histoire totale shows how the technical, economic, industrial, political, geopolitical and educative contexts feed into the construction of technical training and the debates regarding its construction This type of education arises in a period of democratization of education in a context of technical progress and industrialization of France and reflects these changes. The monographic and comparative analysis of the three schools shows the steps of the creation of these schools. It highlights the experimenting, the transformations and the evolutions of the schools as they are integrated in the local and national educational landscape, the construction of the educational offer, the definition of admission requirements, the establishment of diplomas, the construction of job opportunities and the development of partnerships with the local firms and territory. The analysis of the curricula of the three schools focuses on the nature of the education and its evolution in order to characterize the underlying educational models. The numerous forces at stake drew the outline of reflections, mostly around the distribution between general, scientific and technical education, and guided the creation of the curricula. The study focuses on the educational goals of the schools and the pedagogical organization including the selection, the differentiation in sections, the discipline and the evaluation of students. The analysis of the programs through subjects' schedules shows the different choices of schools, from vocational training for laborers to elite training designed for skilled workers and even engineers. We propose the notion of fabrique (the making), to account for the construction of technical training during this period. This notion underlines the multiplicity of factors contained in the construction of technical training institutions and the negotiations associated with the long, experimental and unpredefined dimension of such a process. It also highlights that it is destined to reproduce and spread its products: institutions, technical education and trained students. We characterize the concept of fabrique and propose a generic definition which could be used as a model to study other technical institutions, in other countries or other periods. Our analysis of three technical schools at the turn of the XXth century shows that for a time these intermediary technical schools provided a high level education, based on technical progress and enlightened by the advance of science. They also bore a true individual and collective ambition for their students. These prototypical institutions, that can be qualified as elite institutions, will nevertheless not be developed afterwards. The possibilities which arose during this period of changes are brought to an end with the war. In spreading technical training schools to the whole French territory, the choice of decision-makers will then be to favor less ambitious institutions.

Piano teachers agree that acquiring piano technique knowledge and skills is beneficial for musical interpretation as lacking a good technique may impact on the musicality of a performance and poor technique may lead to muscular pain or injury. Many piano teachers use a series of piano method books as major teaching materials in the lesson. It is essential for teachers to understand the technical elements included in the piano method books and to investigate whether any piano technical element is missing so that they may consider using supplementary technique teaching materials. Besides, to understand how the technical elements are presented and how soon each technique element is introduced would help teachers to teach more efficiently. The purpose of this study was to review how expert pedagogues teach piano technique to establish a framework of technique elements that should be taught to young piano beginners. Based on this framework, we undertook an analysis of the technical elements found in thirteen series of piano method lesson books together with their accompanying technical books. A calculation of the proportion of each piano technique element in each series, an evaluation of the pace at which new technique elements are introduced and an analysis of how each one is presented forms the objective of this study. The results will provide piano teachers with thorough information on the technique elements found in different method books and will help piano teachers to select the most appropriate method books for their students.

In this thesis I have studied the so-called “Ševčík method” based on the example of his 40 Variations, op. 3. I’ve tried to achieve a deeper understanding of what the exercises are good for and how they work. I took a closer look at Otakar Ševčík’s life and work history, I also investigated other’s opinions and judgements of the “method” that were appearing in press and literature during the last hundred years. The practical part of my project is the experiment that I’ve put myself through. I was diligently practicing 40 Variations every day, trying to improve my technique and learn by playing how to apply those exercises in real life. As a result of this process I’ve developed my bow technique and gained better understanding of how to use Ševčík’s exercises. / <p>The sounding part of the work consists of the following recordings:</p><p>1)Mozart before 2) Mozart after 3) Rossini before 4) Rossini after</p><p>The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recordings may be supplemented. </p>

Dans des situations où la perception visuelle est fortement contrainte ou déficiente, il est nécessaire de rendre perceptible l'information dans une modalité non visuelle, tout en prenant en compte des capacités sensorielles et mnésiques humaines. Par exemple, un non-voyant, souhaitant prendre connaissance d'un itinéraire, devra le parcourir de façon non visuelle et le mémoriser. Cependant, outre l'aspect matériel, la mise en œuvre de solutions alternatives (non visuelles) demeure confrontée aux capacités cognitives de l'utilisateur (compréhension, mémorisation, intégration de plusieurs informations, etc.). L'objet de cette thèse est de contribuer à la conception de techniques d'interactions permettant d'optimiser la transmission non visuelle d'informations. A ces fins, j'ai exploré l'apport de la multimodalité comme moyen d'optimisation permettant d'outrepasser les limites de la mémorisation. Je me suis concentré sur l'étude des techniques d'interaction basées sur les modalités auditives et tactiles, en limitant au maximum l'utilisation de la parole, afin de concevoir des techniques pour des environnements différents (flexibilité), d'optimiser l'utilisation de canaux perceptifs (exploitation des propriétés du son dans des messages audio pour transmettre plus d'informations, par exemple), d'éviter de limiter mes techniques par la barrière de la langue ou de sa compréhension et enfin, pour explorer d'autres solutions que la synthèse vocale seule. Les travaux de ma thèse ont mené à la conception, à l'implémentation et à l'évaluation de techniques d'interaction multimodale non visuelle, en réponse à différents contextes, dont, en particulier, ceux de la transmission d'informations de type <valeur>, <position> (couple de coordonnées) et <itinéraire> (séquence de couples direction-distance). Pour parvenir à concevoir mes interactions, j'ai, tout d'abord, effectué une revue de la littérature, afin d'en extraire les principaux facteurs de conception de techniques d'interaction dédiées à la transmission non visuelle d'information. Puis, j'ai organisé ces facteurs sous la forme d'un cadre d'analyse, sur lequel je me suis appuyé pour concevoir chacune de mes techniques. Trois expériences distinctes ont permis d'évaluer l'influence de facteurs de conception sur l'efficacité des interactions et la satisfaction des utilisateurs vis-à-vis des techniques. Je peux, notamment, citer l'implication des utilisateurs (actif ou passif), la présence d'aides explicites", la transmission de plusieurs informations en parallèle et la modalité principale utilisée et, le type de codage dans lequel est encodée l'information. / In situations where the visual perception is strongly constraint or deficient, it is necessary to make perceptible the information with a "not visual form" while taking into account human sensory and mnesic capacities. For example, a blind person wishing to acquaint an itinerary must read it under a non visual form and memorize it. However, besides the material aspect, the implementation of alternatives (non-visual) still faces to the cognitive abilities of the user (comprehension, memorization, integration of various information, etc.). The purpose of this thesis is to contribute to the design of interaction techniques allowing to optimize the transmission not visual of the information. For these purposes, I explored the feature of multimodality as a means of optimization, allowing of exceeding the memorization limits. I focused on the study of interaction techniques based on auditory and tactile modalities and by minimizing the use of the speech, in order to develop techniques for different environments (flexibility), optimize the use of perceptual channels (operating the properties of sound in audio messages to transmit more information, for example), avoid limiting my techniques by the language barrier or understanding and finally, to explore alternatives to the synthesised voice alone. The works of my thesis led to the design, to the implementation and to the evaluation of interaction techniques "non-visual" and "multiform", in answer to different contexts, whom in particular those of the information transmission of type <value>, <position> (pair of coordinates) and <itinerary> (sequence of couples direction-distance). To achieve design my interactions, I have made a review of literature in order to extract the main factors of design of interaction techniques dedicated to the transmission not visual of the information. Then, I have organized these factors in an analytical framework on which I have relied to design each of my techniques. Three separate experiments were led to evaluate the influence of design factors on the effectiveness of interactions and satisfaction towards users of technology. I can give some of them, the involvement of users (active or passive), the presence of explicit help, the transmission of several information in parallel, the main modality used and the type of coding in which is encoded the information.

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.

Submitted by David De Figueiredo Correia Castelo (davidcastelo@yahoo.com.br) on 2018-05-17T10:09:32Z No. of bitstreams: 1 Tese Doutorado - Versão final - Depósito Biblioteca Unesp.pdf: 4871087 bytes, checksum: 538359d748f4ae6d633d5efdf25b3e17 (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: - o item “ficha catalográfica” nos itens pré-textuais é obrigatório segundo as normas da ABNT, biblioteca e programa de pós-graduação, portanto deve constar no arquivo anexo. Se ainda não foi solicitado à biblioteca, pode ser feito conforme instruções em http://www.ia.unesp.br/#!/biblioteca/servicos-oferecidos/ Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Agradecemos a compreensão. on 2018-05-21T19:15:39Z (GMT) / Submitted by David De Figueiredo Correia Castelo (davidcastelo@yahoo.com.br) on 2018-05-24T12:01:25Z No. of bitstreams: 1 Tese Doutorado - Versão final - Depósito Biblioteca Unesp.pdf: 4921501 bytes, checksum: c5e8e7e5d774c791ffe975ad6780a2f6 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-05-24T18:31:37Z (GMT) No. of bitstreams: 1 castelo_dfc_dr_ia.pdf: 4921501 bytes, checksum: c5e8e7e5d774c791ffe975ad6780a2f6 (MD5) / Made available in DSpace on 2018-05-24T18:31:37Z (GMT). No. of bitstreams: 1 castelo_dfc_dr_ia.pdf: 4921501 bytes, checksum: c5e8e7e5d774c791ffe975ad6780a2f6 (MD5) Previous issue date: 2018-02-28 / O presente trabalho aborda a relação entre a técnica instrumental e a expressão musical. Mais especificamente, investiga a possibilidade de as técnicas estendidas da flauta doce serem utilizadas como elemento veiculador da expressão musical neste instrumento. A relação entre a técnica instrumental e a expressão musical na flauta doce é um tema presente em momentos significativos de sua história. O fato de a flauta doce ser também um instrumento histórico, para o qual foi dedicada extensa bibliografia Renascentista e Barroca, contribuiu para que sua técnica tenha sido organizada em dois eixos principais: o da técnica tradicional (entendida como aquela contida nos tratados históricos) e o das técnicas estendidas (as desenvolvidas a partir da década de 1960). Essa distinção mostra-se, contudo, menos rígida ao proceder-se a um estudo mais aprofundado a respeito das técnicas descritas nos tratados históricos. Sob o ponto de vista conceitual, adota-se o entendimento de Ray (2005) sobre Performance Musical e Técnica; de Padovani; Ferraz, (2011) sobre Técnica Estendida; e de Lehmann; Sloboda; Woody (2007) sobre Expressividade. A metodologia da presente tese envolve trabalho de cunho analítico-reflexivo associado à coleta e execução de repertório. A Tese está estruturada em três capítulos assim organizados: Capítulo I - dedicado à revisão de literatura; Capítulo II - discussão sobre os recursos tradicionais de expressão musical na flauta doce, sobre as técnicas estendidas e sobre expressividade contemporânea da flauta doce; Capítulo III - apresentação dos critérios de seleção do repertório, analise do repertório selecionado e discussão sobre a utilização de técnicas estendidas e técnicas tradicionais no repertório selecionado. As conclusões da pesquisa apontam para os seguintes fatos: a) a técnica tradicional tem sido abordada de maneira superficial; b) as técnicas descritas em tratados históricos revelam que, pelo ponto de vista de suas mecânicas, se assemelham à mecânica das técnicas estendidas; c) os recursos sonoros desenvolvidos para a flauta doce, na década de 1960, e seus respectivos meios de obtenção podem ser classificados com técnicas estendidas uma vez que efetivamente promoveram um rompimento ao contexto no qual o instrumento se encontrava inserido na referida década; d) a performance contemporânea da flauta doce envolve a execução tanto de seu repertório histórico quanto de seu repertório contemporâneo. / The present work deals with the relationship between instrumental technique and musical expression. More specifically, it investigates the possibility that extended recorder techniques can be used as a vehicle for musical expression. The relationship between instrumental technique and musical expression on the recorder is a subject present at significant moments in its history. The fact that the recorder is also a historical instrument, for which an extensive Renaissance and Baroque bibliography was dedicated, contributed to its technique being organized in two main axes: that of traditional technique (understood as that contained in historical treatises) and that of extended techniques (those developed from the 1960s). This distinction is, however, less rigid when a more in-depth study is carried out on the techniques described in the historical treaties. From the conceptual point of view, Ray's (2005) understanding of Musical Performance and Technique is adopted; of Padovani; Ferraz, (2011) on Extended Techniques; and Lehmann, Sloboda and Woody (2007) on Musical Expression. The methodology of the present thesis involves analytical-reflexive work associated with repertoire collection and execution. The thesis is structured in three chapters so organized: Chapter I - dedicated to literature review; Chapter II - discussion of the traditional resources of musical expression in the recorder, on the extended techniques and on the contemporary expressiveness of the recorder; Chapter III - presentation of the selection criteria of the repertoire, analysis of the selected repertoire and discussion on the use of extended techniques and traditional techniques in the selected repertoire. The conclusions of the research point to the following facts: a) the traditional technique has been approached superficially; b) the techniques described in historical treatises reveal that, from the point of view of their mechanics, they resemble the mechanics of the extended techniques; c) the sound resources developed for the recorder in the 1960s can be classified with extended techniques since they effectively promoted a rupture to the context in which the instrument was inserted in that decade; d) the contemporary performance of the recorder involves the execution of both its historical and contemporary repertoire.

In March of 2005 I was a cast member in Mad Cow Theatre's production of the Morality drama Everyman. This classic tale on the condition of human dying is regarding as one of the greatest dramas of the Medieval period and is one of the first plays in the English language to be put into print. This thesis is an actor's journey into the history of Medieval theatre, the challenges of producing Everyman for a contemporary audience, and the techniques of acting implemented in the creation of allegorical characters. Medieval drama, like Everyman, is still relevant in today's world because it addresses universal themes of friendship, material wealth, and reverence towards death. It is the story of the human being, the power of beliefs, and the fear of death. This thesis reflects a group of artists' desire to give an audience the gift of insight into their common selves.