Th.--Méd.--Paris, 1909-1910. / Paris, 1909-1910 N ° 433.

Diss.--Phil.-Fak.--Cologne--Universität, 1998. / Bibliogr. p. 193-199.

Doctoral diss.--University of Iowa. / Bibliogr. p. 175-180. Index.

Diss.--Wien, 1993. / Bibliogr. p. 252-269.

Th. doct.-ing.--Nancy, I.N.P.L., 1981.

No description available.

The work of psychiatrists affiliated with the Tavistock Clinic and Tavistock Institute has been credited with reshaping how workplaces were managed and with psychologising British society, providing British people with a new psychological language for thinking about problems. This thesis provides a history of the Second World War roots of this work. It examines two projects which emerged from a remarkable collaboration between the Tavistock group and the British Army: the War Office Selection Boards (WOSBs) and Civil Resettlement Units (CRUs). These projects, whose scale was vast and unprecedented in British human science, involved the creation and management of processes to choose leaders and to help communities disrupted by war to return to peace. As well as exploring how particular psychological programmes, theories, methods and technologies were devised, this work considers the implications of this work for those who were involved in the wartime work. It provides a history of the co-constitution of psychological expertise, military management strategies, technologies of assessment, and therapeutic intervention. This is achieved by reconstructing the complex negotiations that surrounded the WOSBs and CRUs, by tracing the macro-scale social concerns and the micro-scale personal relationships of individuals that shaped the WOSBs and the CRUs. Historiographical approaches such as actor-network theory and S.L. Star’s work on “boundary objects” are used to examine how psychological theories were balanced with military expectations and demands. The thesis highlights the importance of communication strategies, the negotiation of networks, and administrative structures in the production of science and expertise.

Vitamin D is an important secosteroid hormone that is responsible for calcium and phosphorus homeostasis. Vitamin D deficiency and insufficiency are an ever increasing global problem. Very few foods naturally contain vitamin D; such as salmon, and sundried or ultraviolet irradiated mushrooms. Few foods are fortified with vitamin D such as milk, orange juice, cereal and bread. Little is known about the vitamin D levels in certain fish such as sardines. The purpose of this study was to find out whether sardines and mackerel are a good source of vitamin D such as wild salmon. It was hypothesized that both sardines and mackerel are a good source of vitamin D. Based on the results, sardines are a good source of vitamin D. One serving size (3.5 ounces, about 5 fish) of sardines has about 330.8 IU's of vitamin D3. This is equal to 66.2 IU's of vitamin D3 per fish. Mackerel on the other hand does not have as much vitamin D3 as sardines. A standard serving of mackerel (3.5 ounces, about 3 fish) has 81.6 IU's of vitamin D3. This is approximately 27.2 IU's of vitamin D3 per fish. Both mackerel and sardines are good sources of vitamin D3.

Thesis (Ph.D.)--Boston University. / Luzzasco Luzzaschi belongs to that group of late sixteenth century Italian composers concerning whom we know practically nothing. Investigation seems to indicate that he was born c. 1545 and that he studied with Rore in Ferrara. By 1571 or earlier, Luzzaschi was organist to Duke Alfonso II, a position he held until the Duke's death in 1597. Active as a composer, organist, and teacher at one of the most cultivated courts in Italy, Luzzaschi's name is most frequently associated with the "Concerto della Dame," that group or lady singers at the Ferrara court whose fame was spread by the chronicles of the period and for whom Luzzaschi wrote his often mentioned volume, the Madrigali ... per cantare et sonare. Upon the death of his patron and the dissolution of the court at Ferrara, little information regarding the composer is available. Evidence is ample that he was the teacher of Frescobaldi, and it is likely that his life came to a close in Ferrara c. 1607. Luzzaschi's five-part madrigals, to which this study is limited, are contained for the most part in his seven madrigal books published between the years 1571 and 1604. Of the Primo libro, Sesto libro (long considered totally lost), and Settimo libro, no complete copy is extant. However, a posthumous volume entitled Seconda Scelta...reprints some madrigals from Luzzaschi's last three madrigal publications, that is from the Fifth through the Seventh books. Thus this collection is extremely valuable, for it contains our only known source for Luzzaschi madrigals from his Sixth and Seventh books. (Unfortunately, no evidence to date has uncovered any complete madrigals from the First book.) A few madrigals not contained in any of the seven books were published in various anthologies of the period, and a complete source list of all known Luzzaschi madrigals together with other bibliographical information is contained in Appendix I. In all, Luzzaschi's total output of five-part madrigals numbers at least 186. Beginning with the Secondo libro, the largest of the complete madrigal books and written when the composer was in his very early thirties, the reader is immediately confronted with a volume noted for its balance and clarity and one revealing an understanding of the common practice type of madrigal characteristic of the period. The usual madrigalisms on textually important words are to be found together with other melodic and harmonic peculiarities that go into the making of a personal and individual style. Probably the most significant aspect of Luzzaschi's madrigal writing in his use of what this writer has termed "melodic interchange of parts," that is the substitution of melodic material among the voices which results in effect in a kind of Stimmtausch. This device is not limited to Luzzaschi's early writing but is employed throughout all of his madrigal volumes. One does not find in Luzzaschi's madrigals indications pointing to a departure from tradition. Individual madrigals such as his tortuous setting of Dante's Quivi sospiri may stand out and focus attention upon themselves, but on the whole, these represent isolated examples of departure from the norm. Luzzaschi is a stable madrigalist, perhaps even retrospective in outlook and method, and one will have to look well among his works to find signs of a Wert, a Marenzio, or a Monteverdi.

India’s State of Emergency (1975-1977) is a critical period in the independent nation’s history. The government’s suspension of democratic norms and its institution of many, now infamous repressive measures have been the subject of much commentary. However, scholars have not examined Emergency politics from a gendered perspective. Women’s participation in support for and resistance to the regime and their experiences of its programmes are notably absent from historiography. This thesis addresses this gap and argues that a gendered perspective enhances our understanding of this critical period in India’s political history. It assesses the importance of gendered narratives and women to the regime’s dominant political discourses. I also analyse women’s experiences of Emergency measures, particularly the regime’s coercive sterilisation programme and use of preventive detention to repress dissent. I explore how gendered power relations and women’s status affected the implementation of these measures and people’s attempts to negotiate and resist them. The thesis also highlights several ways in which women actively supported the Emergency agenda and participated in organised resistance, focusing on the manifestation of these activities in particular spaces. I utilise a diverse collection of sources, innovative methodologies and theoretical perspectives in order to bring these histories, which have hitherto been completely absent from the historiography of these events, to light.