Deciphering grape genomics and the yeast fermentation process is giving Hennie van Vuuren and Steven Lund clues on how to help wineries improve wine quality.

In British Columbia (BC) foresters registered with the Association of BC Forest Professionals (ABCFP) have been given the exclusive right to practise professional forestry. As with all professions there is an expectation that Registered Professional Foresters (RPFs) conduct their activities in an ethical manner and are therefore obligated to act as an ethical agent on behalf of society regarding forest resources. If a certain level of ethical agency is desired of professionals we need to understand whether or not an RPF possesses the ability (defined as their discretion) to sufficiently fulfil this responsibility. Rule-based and principle-based standards of forest management, an RPF’s scope of practice, and the socio-political framework of public forest management in BC all come together to define an RPF’s discretionary context, which sets the limits to an RPF’s discretion. This context is highly idiosyncratic to a specific situation or decision and this makes the RPF’s discretion similarly idiosyncratic. This suggests that an RPF should not be accountable for a standard of ethical agency that does not reflect the context-dependent level of discretion they possess. Fifteen interviews of RPFs were conducted for this study to discuss their approach to ethical decision making. The analysis of the interviews revealed 12 major themes, several of which appear to be highly idiosyncratic to the situations described by the participants. The way these themes were perceived by the participants revealed the differences in the discretionary context of their situations. Several aspects of ethical deliberation emerged from the data that appear to be particular to broad employer categories, including delegated decision-making (government), economic and forest health considerations (industry), and the tension between personal and professional values (consultants).

The purpose of this autoethnographic study was to examine three questions: (a) how did my view of myself as a non-Aboriginal educator change as a result of teaching in an Aboriginal cultural context, (b) how did my teaching philosophy and pedagogical approach change as a result of teaching in an Aboriginal cultural context, and (c) how did my sense of community and relatedness to the people I interacted with change due to increased cultural awareness and exposure to Aboriginal cultures? Data from my time in my teacher education program and teaching in Klemtu, BC was collected, and Mezirow’s (1997) transformative learning theory was used to analyze the shift that I made in these three areas. Finally, recommendations were made to teacher education programs and future non-Aboriginal educators who choose to teach in Aboriginal-run schools.

Esta dissertação tem como objeto de estudo a tragédia Helena de Eurípides e sua reinterpretação do mito de Helena. Para tanto, está dividida em duas partes, sendo a primeira um estudo e a segunda uma tradução completa da tragédia em versos. O estudo tem dois capítulos: o primeiro aborda o problema do gênero dramático da peça e alguns aspectos de sua encenação; e o segundo discute imagens tradicionais do mito de Homero a Eurípides, enfatizando a síntese da composição euripideana. / This thesis focuses on the tragedy Helen by Euripides and its reinterpretation of the Helen myth. It is divided in two parts. The first one contains a study and the second offers a complete verse translation of the tragedy. The study presents two chapters. The first deals with the problem of Helens dramatic genre and some aspects of its staging. The second discusses traditional images of the myth from Homer to Euripides, emphasizing the synthesis of the Euripidean composition.

In British Columbia (BC) foresters registered with the Association of BC Forest Professionals (ABCFP) have been given the exclusive right to practise professional forestry. As with all professions there is an expectation that Registered Professional Foresters (RPFs) conduct their activities in an ethical manner and are therefore obligated to act as an ethical agent on behalf of society regarding forest resources. If a certain level of ethical agency is desired of professionals we need to understand whether or not an RPF possesses the ability (defined as their discretion) to sufficiently fulfil this responsibility. Rule-based and principle-based standards of forest management, an RPF’s scope of practice, and the socio-political framework of public forest management in BC all come together to define an RPF’s discretionary context, which sets the limits to an RPF’s discretion. This context is highly idiosyncratic to a specific situation or decision and this makes the RPF’s discretion similarly idiosyncratic. This suggests that an RPF should not be accountable for a standard of ethical agency that does not reflect the context-dependent level of discretion they possess. Fifteen interviews of RPFs were conducted for this study to discuss their approach to ethical decision making. The analysis of the interviews revealed 12 major themes, several of which appear to be highly idiosyncratic to the situations described by the participants. The way these themes were perceived by the participants revealed the differences in the discretionary context of their situations. Several aspects of ethical deliberation emerged from the data that appear to be particular to broad employer categories, including delegated decision-making (government), economic and forest health considerations (industry), and the tension between personal and professional values (consultants). / Forestry, Faculty of / Graduate

Students of colonialism know well that the stories we tell have the capacity to make, maintain, or transform our relationships as well as our material futures. As earlier work has shown, Indigenous and settler peoples encountered and apprehended one another through story at first contact and in all subsequent contact moments, reaching right up to present-day mechanisms for negotiating conflicts over rights, resources, sovereignty, and historical injustice. In this dissertation, I explore in depth the role of story as a social practice in Indigenous-state relations, examining a series of key encounters over the last 150 years in which Indigenous peoples challenged and contested the state’s possession of their lands in what would become British Columbia. Informed by archival and community-based research with two Indigenous nations – the Stó:lō and the Haida – this study offers a history of Indigenous tactics in pursuit of the larger objective of decolonization, especially since the 1960s. Each of the four main chapters explores how Indigenous peoples have engaged distinct state-sanctioned mechanisms for addressing the state’s dispossession of their lands. The first chapter examines the dynamics of orality and literacy in a series of Stó:lō petitions from the late nineteenth century, a time when reserves were being reduced in order to accommodate a rapid influx of settlers seeking agricultural lands. Chapter 2 looks at Stó:lō experiences of treaty negotiation in the early twenty-first century, and how they are attempting to re-write the master narrative of Stó:lō -state relations. Chapter 3 focuses on the Haida blockade of logging in the mid-1980s, examining how the Haida acted into being what would become an iconic story of Haida nationhood. Finally, chapter 5 explores story and belief through a close study of the narrative dynamics of Haida participation in the Joint Review of the Enbridge Northern Gateway Project between 2012-2014. In each of these encounters, Stó:lō and Haida people exceed the limited narrative spaces they are assigned for communicating who they are and how they relate to their territories and to the state, while attempting to shift the established narrative. Recent scholarship on Indigenous-state relations has focused on how liberal settler states continue to exclude Indigenous peoples even through their gestures at including them into the body politic. While such work on the state is critical, I suggest that it is equally important to understand Indigenous peoples’ demonstrated capacity for collective cultural endurance, and how it exists in tension with the forces acting to assimilate and subsume Indigenous difference within the normative structures of settler society. This study attempts to grasp the nature of this endurance, and demonstrates how narrative is as central to Indigenous peoples’ repossessions of their land as it was to the state’s original dispossession of it. / Graduate / 2018-08-08

La tragédie du quatrième siècle fut considérée depuis l’antiquité comme une phase de décadence du genre tragique. Toutefois, plusieurs spécialistes ont montré qu’il ne s’agissait pas d’un déclin : le théâtre continuait à jouer un rôle important dans la vie culturelle du monde grec. Dans cette thèse nous proposons une nouvelle édition des fragments des poètes tragiques grecs du quatrième siècle, qui furent actifs entre la fin de la guerre du Péloponnèse et la mort d’Alexandre le Grand. L’édition des textes est précédée d’une courte introduction sur chaque poète et suivie de leur apparat critique, leur traduction et des commentaires. Nous proposons également un nouvel ordre des poètes et des témoignages pour faciliter l’étude de ces textes. Nous espérons que cette thèse contribuera à une meilleure compréhension de cette production méconnue et invitera à des nouvelles recherches. / After the death of Euripides and Sophocles, tragic poets continue to write tragedies. During the fourth century BC theatre expanded all over the Greek world. In this thesis, I propose a new edition of the tragic fragments of the fourth century BC, by poets who were active from the end of the Peloponnesian war to the death of Alexander the Great. The edition of these texts is preceded by a brief introduction on each poet and followed by a critical apparatus, their translation and commentaries. I also propose a new order of the poets and testimonies in order to facilitate the study of the texts. I hope this thesis will contribute to a better understanding of this relatively unknown production and inspire new researches.

No description available.

La cellulose bactérienne (CB) est bien connue pour sa biocompatibilité, moulabilité, pureté et cristallinité ainsi que pour sa structure fibrilleuse nanométrique. Cependant, la production des matériaux par des microorganismes est innovante. La présente thèse initialise ce type de bioproduction dans nos laboratoires. Les bactéries productives de cellulose sont isolées à partir d'un vinaigre Libanais. Plusieurs études cinétiques sont établies. Les isolats sont étudiés dans différents milieux de cultures en variant la source de carbone et la température d'incubation, pour déterminer les conditions optimales recommandées pour la production de meilleurs rendements de CB. La bactérie productive de CB a été étudiée en détails au niveau de son cycle de vie et phases de croissance. La physiologie des cellules a été clarifiée et les mécanismes qui précédent et qui accompagnent la synthèse de CB ont été expliqués. Un modèle mathématique se basant sur l'équation logistique est employé pour standardiser les paramètres étudiés. Le rendement de CB a été accru en appliquant différents chocs aux cellules. Le choc thermique appliqué pendant les étapes précoces d'incubation ainsi que le choc acide ont montré des résultats innovants et accéléré le métabolisme de synthèse de CB. L'aspect environnemental du travail a été valorisé en préparant un milieu de culture extraits des fruits et légumes endommagés. En termes d'application, la CB a été utilisée pour produire des papiers et des papiers résistants à l'eau et comme additive dans un prototype d'industrie de papier. Ainsi des composites de cellulose/Liquides ioniques ont été produits afin de performer des matériaux à haute constante diélectriques / Bacterial cellulose (BC) is a wellknown polymer of this family. Its main attractive properties are the biocompatibility, moldability, purity, crystallinity and fibrillar structure at the nanoscaled level. The production of such materials by microorganisms is an innovative procedure. In order to trigger this production procedure in our laboratories, the present thesis was the preliminary step to go through this huge micro-world. In the first step, we isolated cellulose producers from Lebanese vinegar. Kinetic studies were established to clarify the profile of the producer and to optimize cellulose production. The isolates were studied under different incubation temperatures in different microbiological media and at different carbon sources levels to determine optimal conditions for BC production. In the second step, cellulose producer was studied concerning bacterial phases and life cycles. Cells physiologies were clarified and mechanisms that accompany cellulose formation on the top of cultures were discussed. A mathematical model was set basing on Logistic equation to standardize the parameters. Then, cellulose yield was enhanced by different cells choc methods. Thermal choc was applied on cultures during earlier stages of incubation. Moreover, acids were used as doping agents to the culture media. In parallel, to satisfy the eco-friendly aspect of the work, bacterial cellulose production was optimized using fruits and vegetables wastes juice. Papers and waterproof papers were produced using BC. BC was also used as an additive in industrial paper making and was found to enhance mechanical resistance of the papers. In addition, a high-K material was performed using bacterial cellulose and ionic liquids

Tesis por compendio / [EN] Historiography has bestowed upon the works of the treatise writer Guillermus de Podio a leading position in the history of Hispanic music theory. This is due not only to the intrinsic interest of his works, but also to his decisive influence, especially on the theorists of the 15th century. Nonetheless, existing studies still allow room to learn more about him. The first part of this doctoral dissertation focuses on the writer's contentious life story. Although there have been several hypotheses set forth concerning the author's name, origin, and identity, data universally accepted by experts on his background were limited to his Hispanic origin and to the fact that he was a priest. Newly discovered unpublished documents found in various civil registers and religious archives now allow us to study the rich and extensive professional career of Guillem Molins, alias de Podio (*1420c; +1500), a distinguished musician who played important roles related to music in some of the most prominent cathedrals of the Crown of Aragon (Barcelona, Girona, and Valencia), as well as in the service of the Royal House of John II of Aragon and his wife Juana Enríquez. In the second part we gain further knowledge of the musical environment of the author in the court of John II where the musician worked during the king's reign in Aragon (1458-1479). This dissertation helps to fill a historiographical gap that exists in existing studies concerning music in the court of the Aragonese monarchs. The historical record of the kingdom of John II was heretofore the most obscure from a musicological point of view throughout the nearly two centuries from 1336 to 1516, between the reigns of Peter the Ceremonious and Ferdinand the Catholic. A methodical analysis of archival sources, some of which were already known but not thoroughly studied, and others never considered for use in musicology, has allowed us to more closely examine different areas of music in this royal court, notably, the regulatory, economic, and social aspects. Moreover, it has been possible to describe, to varying levels of detail, the various groups of musicians that formed part of these royal houses, and their activities. The third and final part is focused on Guillem de Podio's work Enchiridion de principiis musice discipline contra negantes illa et destruentes and on the only manuscript that includes it (I-Bc, A.71). The analysis of this short codex is particularly noteworthy since it represents the first time that distinct parts of its structure have been studied in detail, as well as its watermarks, signatures, and capital letters. This new information, as well as other data provided (such as biographical data on musicians Antonio Marlet and Juan de Sanabria, who are cited in the manuscript) lead to a new hypothesis about the manuscript's origin (at least of its oldest part) from the city of Valencia. A new contextualised introduction to the ideas contained in the Enchiridion aids in the accessibility of the work's translation into Valencian/Catalan, which is included in the appendix. Among the remaining appendices, the ones that may be highlighted due to their importance and utility are those focused on the nearly complete transcription of the documents of interest, as well as the prosopographic catalogue (collection of biographies, including the documents consulted and bibliographies) of people related to music and who were with Guillem de Podio at the institutions where he worked. / [ES] La historiografía ha otorgado a la producción del tratadista Guillermus de Podio una posición preeminente en la Historia de la teoría musical hispánica, merced no solamente al interés intrínseco de sus obras, sino también a la influencia determinante que ejerció, especialmente, sobre los teóricos del siglo XVI. No obstante, los estudios hasta ahora existentes dejaban todavía lugar para avanzar en el conocimiento sobre su figura. La primera parte de este trabajo se focaliza en la controvertida cuestión biográfica. A pesar de que anteriormente se habían planteado diversas hipótesis sobre el nombre, origen e identidad del autor, los datos unánimemente admitidos por los especialistas sobre su trayectoria se reducían al origen hispánico y la condición sacerdotal. Nuevos documentos inéditos localizados en diversos archivos civiles y religiosos permiten ahora contemplar la rica y dilatada trayectoria profesional de Guillem Molins alias de Podio (*1420c;+1500), un distinguido músico que ejerció oficios musicales relevantes en algunas de las catedrales más destacadas de la Corona de Aragón -Barcelona, Girona y Valencia- así como al servicio de las casas reales de Juan II de Aragón y su esposa Juana Enríquez. En la segunda parte, se avanza en el conocimiento del entorno musical del tratadista en la corte de Juan II de Aragón, a quien el músico sirvió a lo largo de todo su reinado (1458-1479). Este trabajo contribuye a llenar un vacío historiográfico en los estudios sobre la música en la corte de los monarcas de Aragón, pues el reinado de Juan II era, hasta ahora, el más oscuro, desde el punto de vista musicológico, en los casi dos siglos que transcurrieron entre los de Pedro el Ceremonioso y Fernando el Católico, es decir, desde 1336 hasta 1516. Un vaciado sistemático de las fuentes archivísticas -algunas conocidas, pero poco exploradas, y otras nunca consideradas en musicología- ha permitido aproximarse a diversos aspectos -normativos, económicos, sociales- relacionados con el hecho musical en esta corte. Asimismo, ha sido posible caracterizar, con diferente grado de detalle, los diversos conjuntos de músicos que formaban parte de las casas reales y su actividad. La tercera y última parte está dedicada a la obra Enchiridion de principiis musice discipline contra negantes illa et destruentes de Guillem de Podio y al único manuscrito que la ha transmitido (I-Bc, A.71). El estudio de este pequeño códice recibe un impulso en este trabajo, puesto que por primera vez se estudia en detalle su estructura de fascículos, las marcas de agua, las signaturas y las letras capitales. Estos nuevos datos, y otros que también se aportan -como las referentes a detalles biográficos de los músicos Antoni Marlet y Juan de Sanabria, citados en el manuscrito- conducen a la formulación de una nueva hipótesis sobre el origen del manuscrito -al menos de su parte más antigua- que apunta a la ciudad de Valencia. Una introducción contextualitzada a las ideas presentes en el Enchiridion sirve para acercarse a la traducción de la obra al valenciano/catalán, que se ofrece en apéndice. Entre el resto de apéndices del trabajo destacan, por la entidad y la utilidad, el dedicado a la transcripción, mayoritariamente completa, de documentos de interés (apéndice III), así como el catálogo prosoprográfico (apéndice II), o colección de biografías, documentos consultados y bibliografías de aquellas personas relacionadas con la música que coincidieron con Guillem de Podio en las instituciones donde sirvió. / [CA] La historiografia ha atorgat a la producció del tractadista Guillermus de Podio una posició preeminent en la Història de la teoria musical hispànica, mercés no només a l'interès intrínsec de les seues obres, sinó també a la influència determinant que exercí, especialment, sobre els teòrics del segle XVI. No obstant això, els estudis fins ara existents deixaven encara lloc per a avançar en el coneixement sobre la seua figura. La primera part d'aquest treball es focalitza en la controvertida qüestió biogràfica. Tot i que anteriorment s'havien plantejat diverses hipòtesis sobre el nom, l'origen i la identitat de l'autor, les dades unànimement admeses pels especialistes sobre la seua trajectòria es reduïen a l'origen hispànic i a la condició de prevere. Nous documents inèdits localitzats en diversos arxius civils i religiosos permeten ara contemplar la rica i dilatada trajectòria professional de Guillem Molins àlies de Podio (*1420c; +1500), un distingit músic que va exercir oficis musicals rellevants en algunes de les catedrals més destacades de la Corona d'Aragó -Barcelona, Girona i València- així com al servei de les cases reials de Joan II d'Aragó i de la seua esposa Joana Enríquez. En la segona part, s'avança en el coneixement de l'entorn musical del tractadista en la cort de Joan II d'Aragó, a qui el músic va servir al llarg de tot el seu regnat (1458-1479). Aquest treball contribueix a omplir un buit historiogràfic en els estudis sobre la música en la cort dels monarques d'Aragó, puix el regnat de Joan II era, fins ara, el més obscur, des del punt de vista musicològic, dins dels gairebé dos segles que van entre els de Pere el Cerimoniós i Ferran el Catòlic, és a dir, des del 1336 fins el 1516. Un buidat sistemàtic de les fonts arxivístiques -algunes conegudes, però poc explorades, i altres mai no considerades en musicologia- ha permès aproximar-se a diversos aspectes -normatius, econòmics, socials- relacionats amb el fet musical en aquesta cort. Així mateix, ha sigut possible caracteritzar, amb diferent grau de detall, els diversos conjunts de músics que formaven part de les cases reials i la seua activitat. La tercera i darrera part es dedica a l'obra Enchiridion de principiis musice discipline contra negantes illa et destruentes de Guillem de Podio i a l'únic manuscrit que l'ha transmès (I-Bc, A.71). L'estudi d'aquest petit còdex rep en aquest treball un impuls atès que, per primera vegada, s'estudia en detall l'estructura de fascicles, les marques d'aigua, les signatures i les lletres capitals. Aquestes noves dades, i altres que també s'aporten -com ara les referents a detalls biogràfics dels músics Antoni Marlet i Juan de Sanabria, citats en el manuscrit- condueixen a la formulació d'una nova hipòtesi sobre l'origen del còdex -almenys de la part més antiga- que apunta a la ciutat de València. Una introducció contextualitzada a les idees presents a l'Enchiridion serveix per a acostar-se a la traducció de l'obra al valencià/català, que s'ofereix en apèndix. Entre la resta d'apèndixs del treball destaquen, per l'entitat i la utilitat, el dedicat a la transcripció, majoritàriament completa, de documents d'interès (apèndix III), així com el catàleg prosoprogràfic (apèndix II) o recull de biografies, documents consultats i bibliografies d'aquelles persones relacionades amb la música que varen coincidir amb Guillem de Podio en les institucions on va servir. / Villanueva Serrano, FJ. (2016). Guillem de Podio (*1420c; +1500): Estudi biogràfic crític, entorn musical a la cort de Joan II d'Aragó i l'obra Enchiridion de principiis musice discipline contra negantes illa et destruentes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62154 / TESIS / Premios Extraordinarios de tesis doctorales / Compendio