En el Perú la Sociología se inicia académicamente con una cátedra creada en la Universidad de San Marcos en 1896, una fecha sumamente temprana bajo cualquier punto de vista. Sin embargo deberán transcurrir más de sesenta años antes de que ella pueda constituirse no solamente como especialidad universitaria, sino también para que aparezca un pensamiento propiamente sociológico sobre el país?. ¿Por qué una espera tan larga?. / Tesis

Thesis (M.A.)--University of the Witwatersrand, Faculty of Arts, 1983 / Barnett Newman's mature work i.e. from 1948 - 1970 is characterised by monumental paintings, flat planes of single colour and vertical stripes as the only pictorial element. Despite this severe reduction of form, the titles of these works suggest profound and esoteric concepts. This dichotomy of simple form and complex meaning creates a problem of understanding as there is no obvious correlation between the two. A guide to interpretation is needed and is indicated even more by the wide disparity between the interpretations by different critics. In particular T.B. Hess, in his 1971 book on Newman, introduces references to Kabbalistic themes that complicate the issue further. Newman's widow and some critics reject Hess's premise yet the image of Newman as a Kabbalist artist persists in writings as recently as 1980. This dissertation examines Hess's theories, rejects most of them and attempts alternative interpretations. Newman was a prolific writer and his stated philosophy may be studied as an index to the understanding of his work. This emerges as concerned with sublime, spiritual and heroic content; and the absence of pictorial, nostalgic references from nature is intended to evoke in the spectator a corresponding spiritual and emotional response. Whether the artist's aims were realized remains unanswered in this work because the title- form relationship is still to some extent, obscure; but it is hoped that lines of research into Newman's work other than those by Hess, are strongly suggested.

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Cette thèse se propose d'étudier les personnages des romans de Francois Mauriac, en essayant de les rattacher à un type bien défini. A cet égard, Thérèse Desqueyroux semble réunir le plus grand nombre de caractéristiques communes à tous ces personnages, et c'est ce qui justifie le qualificatif d'archétype que nous utilisons dans notre titre. En étudiant Thérèse, nous la rapprocherons d'autres personnages et, en même temps, nous essayerons de préciser l'attitude de Mauriac devant la condition humaine. Les romans de François Mauriac sont caractéristiques de ceux de la première moitié du vingtième siècle en ce qu'ils présentent un héros à la recherche du sens de sa vie. C'est un personnage complexe et contradictoire, qui se sent dépaysé même au sein de sa famille et de son milieu; il est conscient surtout de la solitude de sa condition. Aux yeux du monde, il paraît anormal, monstrueux même, à cause de ses idées peu conventionnelles, de ses émotions violentes, et de ses actes extravagants et quelquefois criminels. Ce personnage archétype de Thérèse, ce "passionné", est d'abord un déshérité qui, sur le plan social, se trouve incapable de rejoindre son prochain, et ainsi de trouver le bonheur, qu'il s'agisse de la vie de famille ou des conventions de la société dans laquelle il est né. Il est en tous points l'antithèse de l'homme social, qu'il méprise à cause de la suffisance dont il fait preuve, mais qu'il envie en même temps à cause de la sécurité dans laquelle il vit. C'est ensuite un mal aimé, puisqu'il est aussi incapable de rejoindre son prochain sur le plan purement individual. II ne trouve le bonheur ni dans l'amitié ni dans l'amour. Au contraire, l'amour est toujours pour lui un échec: il souffre, ou bien il fait souffrir. En effet, s'il y a solidarité humaine, elle consiste surtout en l'influence que nous avons l'un sur l'autre sur le plan affectif. La cause de cette souffranee, selon Mauriac, vient de ce que l'homme est un "egaré d'amour", qui cherche vainement à assouvir en l'homme un amour qui ne peut s'assouvir qu'en Dieu. C'est enfin un possédé, ce personnage: les tourments mystérieux auxquels il est en proie sont, selon Mauriac, d'origine diabolique. C'est en effet le demon de l'individualisme qui le pousse aux actes de destruction. L'homme est généralement passif devant les forces intérieures qui le possèdent et qui font de lui un déshérité et un mal aimé; il lui reste tout de même une marge de liberté que Mauriac essaie d'attribuer à l'intervention divine. Celui-ci conclut que la seule solution pour lui est d1accepter sa condition comme la "croix" que Dieu lui impose. Pour Mauriac, tout devient clair et supportable dans la perspective du divin; et, cependant, il n'arrive pas dans ses romans à convaincre entièrement le lecteur. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The primary act of nature is the transfer of energy. One thing passes its energy on to other things. This is how life survives. Each thing is receiving energy from other things and transferring its own energy to still other things. Nature is like an unending transitive sentence. If nature is transitive then poetry also must be transitive. For the poet receives energy from certain objects and transfers that energy via the poem over to the reader. The poet must be a conductor of the energy. He must be like a nerve connecting the object to the reader, making sure that all the impulses he receives from the object will be picked up and transmitted to the reader. He wants to give the reader excitement equal to the excitement the object stimulated in him. He does not want to lose any of the original power and spirit of the object in transferring it to the reader. To keep the object alive the poet must enact the object. He must allow the object to transfer its energy, its identity, over to the reader. The poet helps this process by trying to coincide with the object and experience the object from the inside-out. He tries to apprehend the very growth-urge and motivating principle of the object, what causes it to act the way it does. He intuits the shape of the object, what it looks like. He even tries to grasp the object's "intentions" (its tendencies) and desires. Once he has identified with the object then his imagination goes to work. He lets the object act out its desires. He lets it fantasize. He enters a dream with the object where the object is allowed to become whatever it "wants" to become. It grows out of itself. It transforms into various images that seem to be the direct descendants of itself. The imagination allows the object to continually dissolve and re-create itself and thus play out its inherent fate. Through imagination the object performs itself and acts itself out for the reader. And the poet must write at the speed of imagination if he is to conduct all the split-second images that issue from the object. To identify with the object the poet must first get into tension with the object. Every object, whether it be concrete or emotional, has tension. The tension of an object is its force of form. The way its parts are pulled into one another and cohere. Tension, in other words, is tropism. It is the way the object behaves and grows. The poet must identify with the object's tension. He must find the same tension in himself. He must feel the pull and strain of the object in himself. His whole body must be tense with the object. His heart must imitate the rhythm of the object and his throat imitate the squeeze of the object in order to squeeze it into words. If the poet writes a poem about a tree, he does not contemplate what words go with "treeness"; rather he begins imitating the tension of the tree. And imitating the tension of the tree creates a vortex into which the words are naturally pulled. The words that erupt will send forth not especially the look of the tree but the emotional pull of the tree, its tension. The words will be tense with the nerve of the tree itself. This is the act of metaphor, the words leaping immediately from the object to the reader. The poet, then, does not try to embalm the object, but to "enact" it. He does not try to paralyze the object, to photograph it (as a still picture) but to let the object evolve as if it were a movie picture. He wants to dramatize the object, to make it act out its fate. The poet does not want to analyze the object into its separate parts, but feel the cohesion of those parts, their tropism, and follow the tendencies of that tropism into speech and imagery. The poet does not seek to abstract any transcendental "essences" from the object, but rather release the object itself into action, thus liberating any "essences" it may partake. / Arts, Faculty of / English, Department of / Graduate

In the works of Francois Mauriac sin is most often a love which goes astray. Mauriac's heroes are seeking an infinite love and err in attempting to satisfy their intense longing in the finite world. The hero of Le Noeud de vipères grasps for money, believing this to be what he cherishes most in life. As the author indicates in the introduction to the novel, money is not what Louis truly desires; he longs for love, ultimately for Love itself. If his heroes don't seek the Infinite in material possessions, then they try to satisfy their intense longing for the Absolute in human relationships. Daniel Trasis, Raymond Courrèges, and Fanny Barrett are enmeshed in a debauched existence. Hervé de Blénauge, enslaved by his sexual instinct, orients all his actions towards the pursuit of his "pleasure". Reflecting upon physical love, Fabien Dézaymeries remarks that it has the appearance of infinity, and that it is precisely this semblance of the infinite which constitutes the danger for man. As Maria Cross explains, man finds pleasure in sexual relationships, and in choosing this momentary pleasure, he abandons his quest for happiness. Happiness can be attained only when the soul is united to God, and the longing of the soul to lose itself in the Absolute torments man as much as the yearning of the body to be united with another. Consequently Mauriac's heroes never find the happiness they desire because they seek the Infinite in relationships which are finite. Mauriac insists that man does not know himself, that is to say he does not understand his true nature, and therefore fails to perceive what he really desires. The words of Saint Teresa of Avila which serve as the epigraph to Le Noeud de vipères stress man's blindness in regards to his true nature: "...Dieu, considérez que nous ne nous entendons pas nous-mêmes et que nous ne savons pas ce que nous voulons, et que nous nous éloignons infiniment de ce que nous désirons. " Mauriac’s heroes are in search of the Absolute and they frantically strive to fulfill their intense longing in the finite world. Man needs to understand the true object of his desires, for only then will he cease his search for the Infinite in the finite world. The heart of man is an infinite abyss which only infinity can fill. His thirst for love is beyond all measure because it is precisely the desire for the Infinite. Man is aware of himself "as a separate entity", isolated from others, and he longs to overcome this separation by seeking love and human affection. In Le Désert de l'amour Mauriac describes the intense solitude of man, the anguish he feels at being unable to overcome his isolation from others. Dr. Courrèges desperately longs to overcome the barrier which exists between the other members of his family and himself. In the same novel Maria Cross suffers deeply from the lack of family and friends. However her loneliness is a moral solitude rather than just a physical separation from others, and she tries to overcome this intense solitude in amorous liaisons. Her efforts are futile for she never finds in these relationships what she is desperately seeking: a love which will dispel her loneliness, which will fill her interior desert. In the preface to Trois Recits, Mauriac refers to the instinct of man to unite with a single being. This desxre is, however, more than the longing for physical union with the Absolute. Maria Cross comes to realize the true object of her desires: a being which she can reach, possess, but not in the mere physical sense, a being by whom she will be possessed. In discussing the metaphysics of love in Mauriac's works, Michael Maloney indicates that in human love "by an obscure compulsion, the finite searches for the Infinite" for love is "however unknowing, a hunger for the divine, even when its object is another human." Underlining Mauriac's theory of love is "the oneness of love's essence." The author indicates that there is only one love: all loves, fraternal, maternal, etc., are only varieties of the Unique Love. Moreover, all Mauriac’s characters show that man is created for the One Love. Maria Cross concludes that there is only one love which we seek, and that our efforts to satisfy this infinite passion in human relationships inevitably fail since they do not fulfill the intense longing which is, essentially, the search for the Absolute. Thérèse Desqueyroux realizes that the love which she desires is beyond the physical relationship and that man is only a "pretext", a means by which she gropes for the Infinite. Created for the One Love, man hears the call of the Infinite. God, Who is Infinite Love, draws man to Himself, stirs in his heart the desire for the Infinite, the longing to be united with the Absolute. Every desire for love is a longing for the Infinite, for "...love is the search of human nature for self-realization, a consummation which can only be perfectly achieved when the soul is united to God." Man is created for one love, Infinite Love, and he cannot find happiness and fulfill his destiny without this Love. What is important for Mauriac is that man comes to know himself. In his essay Le Roman Mauriac indicates that the purpose of literature is the knowledge of man. Through his writings Mauriac wants to increase man's understanding of himself, reminding him especially of his spiritual dimensions. The author wants man to perceive in his unending search for love the desire for the Infinite. Mauriac emphasizes that man has the responsibility of creating his destiny, that is to say of determining what will be the end of his life: union with Love or separation from God throughout eternity. Man is created for love, for eternal union with Love, and he will only fulfill himself and satisfy his longing for the Infinite by directing his whole life toward this supreme end. Man is a rational being, capable of discerning good from evil, and his free will enables him to choose between these two principles. Because he is free to choose, he is responsible for his actions, and the outcome of his life is determined by the choices which he makes. Mauriac describes the presence of evil in the world and in man himself. In stressing concupiscence of the flesh, the author demonstrates how Evil plays upon man's weakened nature and reduces his infinite capacity and intense desire for love to lust. Despite this somber portrait, man has not been abandoned in a world of misery without any hope of surmounting his misfortune for, as Mauriac constantly indicates, Grace is available to all. However, man must consent to the divine intervention. The turning to God and the acceptance of divine Grace are the only means by which man will overcome the evil which oppresses him. Throughout his works Mauriac shows that man, in his search for love, is seeking God. By searching for an infinite love in the finite world his characters wander from the true object of their desires. They long for the Infinite and only by realizing what they truly seek and turning to God Who is Love will they satisfy their longing and fulfill their destiny. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

En el Perú la Sociología se inicia académicamente con una cátedra creada en la Universidad de San Marcos en 1896, una fecha sumamente temprana bajo cualquier punto de vista. Sin embargo deberán transcurrir más de sesenta años antes de que ella pueda constituirse no solamente como especialidad universitaria, sino también para que aparezca un pensamiento propiamente sociológico sobre el país?. ¿Por qué una espera tan larga?. / Tesis

The magnitude and frequency of floods are defined regionally for small streams (drainage area, 1 to 150 square miles) in Virginia. Curves are defined which show the relationship between the drainage area and the mean annual flood in four regions. Composite frequency curves for each region relate the magnitude of the annual flood, in ratio to the mean annual flood, to recurrence intervals of 1 to 50 years. These two relationships are based upon annual peak flows at gaging stations with drainage areas less than 150 square miles and with records greater than 5 years. Gaging-stations which were materially affected by storage or diversion were not used. / Master of Engineering

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The C₁ enzyme required for the microbial degradation of crystalline cellulose, has been isolated from Cellulase Meiji, a commercial cellulase derived from culture filtrates of Trichoderma viride. Initial purification was accomplished with a substrate affinity column, using Avicel as the crystalline cellulose substrate. The resulting Avicel Water Fraction contained essentially all of the recovered C₁ activity and yielded an 8.2 fold purification. The C₁ component was then further purified by chromatography on a weak anion exchange column (Bio-Gel DM). Elution with a pH 4.8 sodium citrate buffer resolved three cellulase fractions as well as a noncellulolytic fraction which remained on the column. The first peak of the elution pattern contained 97 per cent of the recovered C_x activity. The C_x enzymes are those which hydrolyze derivatized or soluble cellulose such as carboxymethylcellulose, but cannot, by themselves, degrade crystalline cellulose. Recovery of the C_x activity was 103 per cent and Peak II and Peak III proteins from Bio-Gel DM chromatography had little of this activity. These latter two protein peaks possessed very little ability alone to degrade crystalline cellulose but, when the C_x (Peak I) and either C₁ protein fraction (Peak II or III) were recombined, the specific activity of the mixture was 16 per cent higher than that of the starting material (Avicel Water Fraction) placed on the column. Analytical disc gel electrophoresis (stacking at pH 5.9 and running at pH 8.5 in the separating gel) separated the C_x (five bands) and C₁ enzymes (three bands). Peak III contained only the three C₁ protein bands. The three C₁ proteins (termed A, B and C) were purified from the Avicel Water Fraction by preparative disc gel electrophoresis. These proteins contained low C activity X . and little C₁ activity when assayed alone, but showed synergism with a C_x-rich fraction (Peak I from Bio-Gel DM) in the degradation of crystalline cellulose. These proteins formed a single band when they were individually rerun on analytical disc gel electrophoresis. They have been referred to as A, B and C in decreasing order of their mobilities on disc gel. Proteins A, B and C are glycoproteins and contain 10.4, 13.8 and 15.2 per cent carbohydrate, respectively. The molecular weights (estimated by their mobilities in different per cent acrylamide gels) are 34,500, 51,000 and 55,000 for A, B and C respectively. Electrofocusing in polyacrylamide gels confirmed the conclusion drawn from anion exchange chromatography that these C₁ proteins are very acidic; the isoelectric points of these proteins are about 3.5. Preparative electrofocusing of Avicel Water Fraction proteins in a sucrose density gradient failed to resolve even the C_x enzymes from the C₁ enzymes. In conclusion, anion exchange chromatography and disc gel electrophoresis have been found to be useful techniques for purifying the C₁ enzymes. Multiple C₁ enzymes have been obtained which are homogeneous by the criterion of disc gel electrophoresis. / Ph. D.