Abstract not available

The identification of antimicrobial compounds that inhibit multidrug-resistant (MDR) bacteria continues to be a significant area of research to combat the public health threat posed by MDRs. Pseudomonas aeruginosa is a Gram-negative, MDR bacterium found within both the environment and healthcare settings. Our laboratory has observed another Gram-negative bacterium, Proteus species, exerts an interesting polymicrobial interaction with Pseudomonas aeruginosa by potentially compromising the quorum sensing (QS) factor, pyocyanin, of Pseudomonas aeruginosa. Production of pyocyanin by Pseudomonas is the main method the bacterium uses for communication and coordination of virulence. In this study, we examined the effectiveness of Proteus mirabilis and Proteus vulgaris to compromise pyocyanin production in Pseudomonas aeruginosa. Through the use of pyocyanin isolation and extraction techniques, data was gathered for Pseudomonas aeruginosa’ s molecular interaction with the two Proteus species of bacteria. Further observations were made on microbial interaction between Pseudomonas aeruginosa and Proteus mirabilis through measuring the rate of metabolic activity, twitching motility rate, and observing differences in biofilm formation. Using the data obtained from this research, we hope to identify new methods of controlling Pseudomonas virulence and infection by inhibiting its ability to communicate and coordinate in polymicrobial infections

Flavonols are a major subclass of flavonoids and are considered the most abundant subclass of flavonoids. Flavonols are classified as having a hydroxyl group on the 3rd carbon of the C ring. The most prevalent modification to flavonols is glucosylation. The flavonol specific 3-O glucosyltransferase (Cp3GT) enzyme from grapefruit (Citrus paradisi) is the topic of this research and specifically adds glucose to flavonols at the 3-OH position. The level of activity varies depending on the flavonol structure. This makes Cp3GT an ideal model system for studying the structure/function relationship of Cp3GT using site-directed mutants. S20G+T21S is a mutant form of Cp3GT. As compared to the wild type Cp3GT, S20G+T21S has significantly higher activity with kaempferol, quercetin, and gossypetin. Another interesting difference of S20G+T21S is its ability to add glucose to the 7-OH position of the flavanone naringenin, thus showing a change in flavonoid class specificity as well as regiospecificity for position of glucose attachment. The S20G+T21S mutant was first made by site-directed mutagenesis and verified by DNA sequencing. The linearized pPICZa plasmid containing S20G+T21S was then transformed into Pichia pastoris via electroporation. Transformation was verified by colony PCR and DNA sequencing and a time course analysis of methanol-induced expression conducted to identify optimal expression. Optimal expression was identified at 24 hours and was verified by SDS-page gel and a western blot. S20G+T21S was purified by IMAC column in preparation for crystallization.

In 1639, a law prohibiting women any head covering; veil, mantilla, manto for example, is promulgated for the fifth time in the Iberian Peninsula under the penalty of losing the garment, and subsequently incurring more severe punishments. Regardless of these edicts this social practice continued. My dissertation investigates the cultural representation of these covered women (tapadas) in Spain and the New World in a vast array of early modern literary, historical and legal documents (plays, prose, and regal laws, etc.). Overall, critics associate the use of the veil in the Spanish territories with religious tendencies and overlook the social component of women using the veil to simply explain it as a mere fashion practice. In my dissertation, I argue that it is more than just a garment; the veil was used by women to make political statements, thereby challenging the restrictive gender and identity boundaries of their epoch. A critical analysis of early modern historical and legal peninsular texts and close-readings of Golden Age literary works, together with colonial cultural productions, allow me to identify patterns in how the tapadas were represented both artistically and culturally. Accordingly, my project attempts to reassess the significance of the tapadas in Hispanic culture for 350 years and demonstrate how their resilience to stop using the veil publicly is symptomatic of the absolutist monarchy inefficiencies in imposing social control. I move away from the tendency to investigate works including tapadas exclusively, and I conclude by reconstructing more accurately their cultural impact on the social dynamics in Spain as well as the New World.

The history of Latin America and the Caribbean was irreversibly altered by the arrival of the conquistadors, destruction of native civilizations and implementation of colonialism for hundreds of years. However, Spain also introduced the high culture of the baroque to Latin America and the Caribbean, which mixed with the cultures of native and African peoples, creating new, distinct forms of literary expression. Subsequent post-colonial cultural movements attempted to explore and reaffirm the variety of cultures that shaped both regions, including the movement of Afrocubanismo in Cuba, which occurred from 1910-1940. Afrocubanismo was a movement intended to incorporate African folklore and music into traditional modes of art. While many authors and artists were instrumental to Afrocubanismo, Nicolás Guillén is considered to be the most influential author of the movement, due to his new and inventive style of poetry that incorporated both Spanish and African influences. This study will demonstrate how Guillén’s use of traditional poetic forms, the son and portrayal of everyday Afro-Cuban life reveal his vision for a post-colonial, transcultured Cuban society, rather than a Cuba subject to colonialism and acculturation.

abstract: Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world. [TEXT IN SPANISH.] ABSTRACTO Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

Thesis (Ph. D.)--Vanderbilt University, 2006. / Includes bibliographical references (leaves 223-229). Also issued online.

Thesis (Ph. D. in Comparative Literature)--Vanderbilt University, May 2006. / Title from title screen. Includes bibliographical references.

This dissertation offers a novel approach to Hispanic Orientalism, developing a dynamic paradigm from its origins in medieval and Renaissance Iberia during the process of the Christian Reconquest, to its transatlantic migration and establishment in the early years of the Colony, from where it changed in late colonial and post-Independence Latin America, and onto modernity. The study argues that Hispanic Orientalism does not necessarily imply a negative depiction of the Other, a quality associated with the traditional critique of Saidian Orientalism. Neither, does it entirely comply with the positivist approach suggested in the theoretical research of Said’s opponents, like Julia Kushigian. This dissertation also argues that sociopolitical changes and the shift in the discourse of powers, from imperial to non-imperial, had a significant impact of the development of Hispanic Orientalism, shaping the relationship with the Other. The methodology involves close reading of representative texts depicting the interactions of the dominant and dominated societies from each of the four historic periods that coincided with significant sociopolitical transformations in Hispanic society. Through an intercultural approach to literary studies, social history, and religious studies, this project develops an original paradigm of Hispanic Orientalism, derived from the image of the reinvented Semitic Other portrayed in the literary works depicting the relationship between the hegemonic and the subaltern cultures during the Reconquest period in Spain. Then, it traces the turn of the original paradigm towards reinterpretation during its transatlantic migration to Latin America through the analysis of the chronicles and travelogs of the first colonizers and explorers. During the transitional late colonial and early Independence periods Latin America sees a significant change in the discourse of powers, and Hispanic Orientalism reflects this oscillation between the past and the present therough the works of the Latin American authors from the seventeenth to the nineteenth centuries. Finally, once the non-imperial discourse of power established itself in the former Colony, a new modern stage in the development of Hispanic Orientalist paradigm takes place. It is marked by the desire to differentiate itself from the O(o)thers, as manifested in the works of the representatives of Modernism and the Boom.

This thesis establishes a biographical and critical context pertaining to the life and work of the nineteenth-century Puerto Rican author Alejandro Tapia y Rivera (1826-1882), and presents a proposed translation of his final novel, Póstumo el envirginiado o la historia de un hombre que se coló en el cuerpo de una mujer (1882). In a discussion of Tapia’s life and work, I highlight important historical factors for comprehending the text’s and Tapia’s relatively obscure status. Then I turn to the text itself to analyze key themes and narrative techniques, referring to literary scholars of Póstumo in order to provide a general interpretive frame work for contemporary readers of the text in translation. Next, I address the functions and metaphors of translation in the novel, and how these relate to discussions in translation theory around the metaphorics of fidelity, gender, and cosmopolitanism, before finally presenting my translation of the novel itself.